She always gets a part
Seven years after the death of his wife, company executive Aoyama is invited to sit in on auditions for an actress. Leafing through the resumés in advance, his eye is caught by Yamazaki Asami, a striking young woman with ballet training.
I'm glad I'm married because I'm never dating again.
Prolific Japanese director Takashi Miike is known to stir up controversy with his film's graphic content, and this is perhaps his most disturbing. Yet, at the same time, it is tame and slow-paced compared to something like Ichi the Killer (2001). But it quickly descends into gruesome, grotesque madness; the final act will exhaust even the strongest stomachs. Although, what some might mistake for tasteless, torture-porn violence is nothing of the sort. Miike's patient plotting and tender treatment of his tortured characters hints at the ultimate terrors in store for us.
A middle-aged widower, Aoyama, decides to conduct an audition to find his ideal women. He is immediately smitten by Asami Yamazaki, she is quiet and mysterious. Aoyama's friend, Yoshikawa,…
The atmosphere is so sterile and antiseptic that it starts to feel like you've been drugged with an alien tranquilizer. And then shit hits the fan, and the disease rushes in.
I've said it before and I'll say it again; AUDITION is the most romantic movie ever made. When you put someone on a pedestal, they have no choice but to keep a tortured slave in a burlap sack and feed him human vomit.
Unrelenting, that's what this film is.
If you really want to know what this film can do to you, read as little about it as you can. That's what happened to me and I have to confess, this film haunted me for quite some time.
That all had to do with the typical slow, meticulous build up you often see in Asian films. This pace provides a perfect platform for Takashi Miike to showcase his sadism and his understanding what true horror is all about. He sinks his hooks into you, the viewer, by making you care for a very sympathetic leading man and then, halfway, he rips those hooks out with force and uncompromising terror.
True horror, that's what this film is.
The Good: I told myself I'd never watch this again, but here we are. What the fuck was I thinking? Audition is still as disturbing as I remembered, but within lies the allure of Miike's infamous masterpiece. Yes, it's a fucked up film, yet, at the same time, it's also a rather brilliant one. (But, yeah, it's really, really fucked up.) Audition seamlessly transitions from drama to romance to mystery and ultimately to horror, where we're bombarded with severed tongues, vomit eating, acupuncture torture, needles on the eyes, foot mutilation (by a wire saw, no less), and... holy shit, did that sack just move?! I'm never watching this again...
The Bad: First half is a bit slow.
The Bottom Line: Halloween douche prank: get an unsuspecting friend to watch Audition. Tell him/her it's a romantic film. Watch his/her reaction. Audition comes recommended.
Out of the snippet of extreme cinema I've seen over the years Takashi Miike's Audition is probably one of the most interesting and compelling entries. Far from the usual genre affair, this is a fairly slow-paced thriller that prefers gradually building up an unsettling atmosphere over throwing copious amounts of cheap shocks at the screen. It is definitely disturbingly brutal towards the end with a series of torture sequences that really made me wince, but it never trades that in for the creepy mood Miike put so much effort into creating. Blurring dream sequences with reality in a way that deliberately leaves you confused as to what is meant to take place in reality and what isn't, Miike is surprisingly…
Everyone who know me knows I am a horror movie buff. Jaded to say the least. For a film to scare me takes quite a bit. But this film, gave me a run for my money. The worst part about it is you don't even know it's going to be a horror movie for the first hour or so.
The film is about Aoyama. A lonely middle aged widower movie producer whose been alone too long. Thinking it's time to get remarried (even his teenage son thinks it's time, when this happens you know its gotta happen) he begins to think of ways to find a suitable bride. His friend comes up with the crackpot idea of holding a fake…
I totally want to introduce Asami to Julian Sands' character from "Boxing Helena."
"Kiri, kiri, kiri, kiri..."
This the woman chirrups, as she implants the needles on the man’s paralyzed body. You can hear the metal squishing as one enters the flesh. “Kiri, kiri, kiri, kiri,” her laugh alarmingly shrill. Deeper, deeper. Deeper and deeper into the body the needles go. The man’s anguish cry is buried deep in his throat; he struggles to pull it out of him. She takes out a rusted piano string (“This wire can cut meat and bone easily,” she twitters matter-of-factly) and begins sawing the man’s foot. More cries. The chill in her laugh is bewilderment for her handiwork. Deeper, deeper. “Kiri, kiri, kiri, kiri.” Everything is dreadful, filthy, yellow, toxic, and evil. It comes to an…
Takashi Miike seems to court a certain amount of controversy; he’s certainly no stranger to violence and although I’m by no means a Miike aficionado I think it’s worth noting he has some style. For instance 13 Assassins was superb and its follow up Hari-Kiri was a nice accomplished film.
Audition is a notorious film, at least I’ve always thought of it as so, so as I approached it for the first time I was certainly wary of the film’s final section and really this section is the films biggest problem. It’s not the violence or the disturbing nature of the scene it’s the fact that rest of the film is generally more interesting and tells quite an intriguing tale.
When it goes into overdrive it’s a little ridiculous and seems like many other horror films, in fact the film doesn’t really deliver on its promise for me. Ultimately, it’s disappointing.
Why can't all broad comedies end this way?
A sweet little story of life and love and how we deal with both in different, respectively creepy ways. I'm not 100% confident Aoyama copes in a way less disturbing than how Asami copes. His is just socially manipulative, while hers is physically decimating.
Takes a rather inconclusive time setting its stage, though it delivers its gratuitous goods with unrestrained relish and a disconcertingly sweet ending address. Not sure it totally works as intended, but yowza, how it does work.
I didn't see that coming. Or that.
This film is a perfectly good example of why it's perfectly fine to stay single after long periods of time. Particularly if your wife/husband has died and you're looking to get lucky with the honeys.
Takashi Miike is seriously one disturbed individual and I usually love him for it. This is one of those times.
I met my girlfriend arguing over this film when it was originally released. I hated it and she loved it.
Ten years later we watched it again and I realised I'd been wrong. A great film and a great comment on the possessiveness and paranoia of men.
Rara vez te encuentras con una película que es tan romántica y terrorífica a la vez, una belleza los últimos veinte minutos.